By Mimi Thi Nguyen
This interdisciplinary assortment brings jointly participants operating in Asian American experiences, English, anthropology, sociology, and paintings heritage. they give thought to problems with cultural authenticity raised by means of Asian American participation in hip hop and jazz, the emergence of an orientalist “Indo-chic” in U.S. adolescence tradition, and the move of Vietnamese song type indicates. They learn the connection among chinese language eating places and American tradition, problems with sexuality and race dropped at the fore within the video functionality artwork of a Bruce Lee–channeling drag king, and immigrant tv audience’ dismayed reactions to a chinese language American chef who's “not chinese language enough.” The essays in Alien Encounters show the significance of scholarly engagement with pop culture. Taking pop culture heavily unearths how humans think and exhibit their affective relationships to heritage, id, and belonging.
Contributors. Wendy Hui Kyong Chun, Kevin Fellezs, Vernadette Vicuña Gonzalez, Joan Kee, Nhi T. Lieu, Sunaina Maira, Martin F. Manalansan IV, Mimi Thi Nguyen, Robyn Magalit Rodriguez, Sukhdev Sandhu, Christopher A. Shinn, Indigo Som, Thuy Linh Nguyen Tu, Oliver Wang
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Additional resources for Alien Encounters: Popular Culture in Asian America
That single appeared on an album (also in 1975) entitled Afro-Filipino, thereby settling any ambiguity as to how Bataan self-identiﬁed. The album’s version of Bataan’s best-known composition, ‘‘Ordinary Guy,’’ changed the lyrics to reﬂect his ethnic state of mind: ‘‘I’m an ordinary guy . . Afro Filipino . . ’’ Produced by Arthur Baker—a seminal hip hop ﬁgure who later produced Afrika Bambataa’s ‘‘Planet Rock’’ and other old-school rap hits—‘‘Rap-O, ClapO’’ was Bataan’s ﬁrst foray into hip hop, recorded at the very beginning of the music’s recorded history.
This challenge poses a paradox to Asian American artists. There are few Asian American rappers in the mainstream because most record labels are wary of signing them out of concern for their commercial viability. However, Rapping and Repping Asian 37 Asian American artists are unlikely to attain commercial viability until more record labels are willing to put their marketing and promotions resources behind them. In the meantime, the continued absence of Asian American rappers within mainstream media contributes to the perception of their inauthenticity, which further hinders their chances of ﬁnding commercial support.
Like Fists of Fury’s ‘‘After School,’’ ‘‘Asian for the Man’’ is a dual critique. Yellow Peril attacked the ‘‘racist ideology’’ of American society and media, but it also took Asian American actors to task for accepting roles that the group deemed demeaning to the image of Asian American men. In e√ect, Yellow Peril was dialoguing with the larger American society but also calling on members of the Asian American community to take responsibility for their potentially detrimental actions. What we can see in these examples is that groups such as Fists of Fury, Yellow Peril, and others explicitly expounded racial and ethnic identities through the hip hop they made.